Subsequent to the period in which Giulio flourished, the school of Mantua produced no new names which at all approached the reputation of the first. The disposition of its sovereigns was always inclined rather to invite painters of celebrity from elsewhere, with a sure prospect of being speedily and well served, than to promote the education of their young subjects in the study of an art, slow in producing fruits, and subject to rapid decay. We have already recounted a tolerable number assembled by Duke Vincenzio for the object of ornamenting his churches; of several of whom he also availed himself for the decoration of the palaces. Antonmaria Viani, called _il Vianino_, a native of Cremona and a scholar of the Campi, thus filled the double capacity of an artist and an architect. The frieze surrounding the gallery of the court presents a specimen of their style, where, in a ground of gold, are seen a group of most beautiful boys, painted in chiaroscuro, and playing amidst luxuriant festoons of flowers. In the same taste of the Campi he produced several sacred pieces; such as the picture of S. Michele at Sta. Agnese; the Paradiso at the Orsoline; and subsequent to Duke Vincenzio, he was employed by his three successors, and died in Mantua, after having established his family in that city. Not very long afterwards, Domenico Feti from Rome was declared painter of the same court, an artist of whose education, received under Cigoli, I have treated elsewhere. Cardinal Ferdinando, succeeding to the dukedom of Mantua, had brought him from Rome to his own court, where he had opportunities of improving himself, by studying the finest Lombard models, along with several of the Venetians. He produced many pictures in oil, for various temples and galleries; one of which, representing the Multiplication of Loaves, exists in the Mantuan academy, abounding with figures rather truly noble than large; but varied, shortened, and coloured in a very masterly style. A still more copious work was that in the choir of the cathedral, though his pieces in fresco, like those of Cigoli, have less merit than those painted in oil. With all the excellence of his compositions, he has certainly the fault of being too symmetrical in his groups, which consequently seem to correspond in an exact order, calculated in architecture to please both the eye and the mind, but by no means so in painting. His own youthful excesses deprived Venice of this fine genius, and distinguished ornament of his art, in the very flower of his age. The names of other artists likewise engaged in the service of the same court, where a relish for the fine arts seems to have been almost indigenous, were Titian, Coreggio, Genga, Tintoretto, Albani, Rubens, Gessi, Gerola, Vermiglio, Castiglione, Lodovico Bertucci, with others of eminent abilities; some of whom were invited for particular commissions, and others permanently engaged for a length of time. Thus the city of Mantua became